[Mike J.]

Also… I think it’s quite a large scope to only blame the assistant editor on this if the project has gotten this far and your team hasn’t asked these final finishing questions from the beginning.

It is the producers responsiblity..not the asst. editor.

[Mike J.]

Wow…you’ve added a lot of questions there and perhaps not enough info…start queston at a time..

29.97 is 23.98 in audio. They are the same in time.

Are you saying you cut an offline at 29.97 and want to redig at HD 23.98? You can use Cinema Tools to create a 23.98 batch list from a 29.97 project. The temp audio becomes a guide if there is a frame slip error…there is a + = 1 frame error in this method..but that’s they way it is…

I don’t understand where the pal part came from…are you saying you’re doing a pal version as well?

[Mike J.]

Jeremy,

As stated…I didn’t hook this up…I’m getting this information over the phone now…i don’t have or own the system…I was called in to an output and I was concerned of their missing blackburst…

[Mike J.]

The REF IN from the Kona card is plugged INTO the Kona Breakout Box. There is NOTHING plugged into the KONA breakout box reference plugs/loop.

This might be the hangup but which should I do. Unhook the REF IN from CARD to the BREAKOUT box… find some additonal BNC cables and continue the loop onto the deck… terminate it at some point…. have a meltdown?

Sorry..I’m doing this without the system..

Thanks again…

[Mike J.]

Sure…was on a time deadline writing before..

it’s a QUAD MAC power pc – 4 TB HUGE scsi RAID – the deck is a Panasonic rental D5 – the frame rate is 1080i 29.97/59.94.

I can capture in freegen okay. I set the deck offset and then everything was fine. captured frame accurate.

On output things got a bit screwy. If I blacked the tape…frame accurate in’s. Assemble edit…yeah…not very accurate there. When I output to the tape I have to look at interference on the monitor until it gets going, but then when I rewind to look at the output…interference noise there. I had to unhook the SDI cable from the KONA 3 to d5 to view…then put it back to output anything else.

Admittingly… this is a rather odd case. I didn’t set this up…it’s the first time it’s been used… and I just came in cold and had a deadline so made things work…but without having the gear in front of me like some of you may…how should I set this set up, up (without a blackburst) to output and watch the best way possible. The monitor is a JVC HD HDSDI . the D5’s output is running into the B switch of the monitor to view the tape playback with supers.

Right now KONA is SDI into deck and reference to FREEGEN. I’ll have to deal with the number offset between the deck and FCP the next chance I’m there.

thanks bob and walter for your assistance.

[Mike J.]

I do that already…

But take 1900 media managed clips and that means that you have to change the timecode on 1900 clips in a bin.

[Mike J.]

Yes, on the projects I’ve supervised…I got this right. Unfortunately, other’s don’t. A lot of these get inherieted from others…sometimes captured even…the producing company blindly bids….you know the rest.

In the event of these…looking for a quicker solution than what I’m doing.

[Mike J.]

Cary,

First..hey…..we know each other from the “FC” pain in the *ss last year.

Second… is this a film project with some kind of burnin timcode on picture side of the footage – you’ve made a selfcontained quicktime of your project and that’s ALL you have….is there burned in timecode on that? If so, manually write those edit numbers down and do a log and capture of each clip in FCP.

Third, autosave vault. Did you have the autosave valut on set to a harddrive that DIDN”T crash. Say you’re firewire died but the autosave is usually saved to you Mac HD. This may be the quick answer and a life saver…but that’s dependent on where your autosave is set.

Find AUTOSAVE folder and peek into it and see if backups of your project is there. If it’s not, remember to have AUTOSAVE set to a different drive (like MAC HD) from now on to save you in the future.

Mike

[Mike J.]

Create a 29.97 timeline in FCP. Lay your 23.98 quicktime into the 29.97 timeline. It will need to be rendered, but it is adding a hard pulldown that will completely work for composer and sound team’s needs.

Use the timecode filter and display the code (which will be in 29.97 now) I’d cover over your old burn in box to avoid confusion.

To use this process for a final 29.97 layback to tape, Graeme Nattress has a perfect plugin that properly adjusts fields for this conversion to look perfect for picture final. the way I told is perfect for your needs though.

Mike

[Mike J.]

If you have multiple sequences in your project..it definately slows the load in….try scaling it down to only the sequence you’re working on and see if the timeline moves faster….if so…that’s you problem